Review: Damon Gough's millennial-era massiveness was never going to be easy to maintain. Such was the strength of his first record, preceding singles, that score to British smash hit movie 'About A Boy' and LP three, 'Have You Fed The Fish?', the Manchester maestro could have hung up his yarns then and retired comfortably. He didn't, and gradually moved towards 2010's 'It's What I'm Thinking Pt.1 - Photographing Snowflakes', a far more introverted work you needed to spend time with. So a return to the release schedule after the subsequent hiatus, perhaps presumed retired, was never going to be predictable. Take it from us, though, 'Banana Skin Shoes' is another Badly Drawn Boy album and a career landmark for more reasons than a comeback. Lyrically never more confident - even forsaking subtle metaphor for brazen emotions at times - and instrumentally innovative, intriguing hooks and curveballs abound, it could be his best to date.

Review: It really isn't a clever name - The Magnetic Fields celebrate the beauty of brevity with 'Quickies', a collection of tracks that run to no more than two-and-a-half minutes, with the shortest clocking in at around 12 seconds. The question is, how much can you really do in such a small amount of time? Stephin Merritt et al more than prove the answer is 'quite a lot', if not 'loads'. With track titles like 'My Stupid Boyfriend' and '(I Want To Join A) Biker Gang' these efforts are nothing if not direct and to the point, but sat just behind all the immediacy and innocence is a depth and power stemming from allusion, suggestion and implication. Short, sweet, tender and evocative experimental pop rock of the highest caliber and most charming character you could ask for.

Review: It's always exciting when some of your favourite artists announce a new musical project. Clearly, then, we were pretty excited about Muzz. Featuring Interpol's Paul Banks, Josh '1/3 of Bonny Light Horseman' Kaufman and Matt Barrick (see: The Walkmen, Fleet Foxes touring band), if the total is equal to the sum of those parts then we should be in for a treat. Not a let down in earshot, all 12 tracks are immediately enthralling. 'Evergreen' and its sombre, reflective guitar strokes combined with subtle electronic effects. The massive, scuzzy rock 'n' roll of 'Knuckleduster'. The heart-wrenching crooning of 'All Is Dead To Me'. A work of many layers, it's a soulful and immersive thing packed with an incredible amount of feeling, and made possible by an incredible level of talent.

Review: Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester's PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let's face it that's pretty much most of us. Tracks like 'Read My Lips' and 'Bad Habit' are fine examples of a dark but alluring edge this lot seem more than capable of creating, while 'Daisies' could almost replace Wilson Phillips to score the final scene of 'Bridesmaids'. Which is certainly no bad thing. "We can keep going" the band threaten over 'Ghosting''s compressed but intense rave punk. Based on this, we're more than happy with that idea.

Review: Life on the road isn't particularly easy for most artists. Nor is it necessarily a collection of scenes from the drug, booze and sex fuelled Motley Crue Netflix biopic, 'The Dirt'. For many people, it's a long, hard slog involving weeks and months away from home, friends and family, which - shows aside - are defined by boredom in transit and meals that take the shape of whatever is close to hand. With this truth in mind it seems understandable that Melbourne guitar poppers Rolling Blackouts should have returned from well over a year on tour with a more thoughtful, reflective and complex album than their debut, 'Hope Downs', or the two preceding EPs. Don't worry, though, for all the questioning of identity, musings on the meaning of home and tales of our turbulent world, there's still plenty of jangly grooves and sub-kissed licks to bore into your mind, making this very much a dual story - the summertime indie you've been waiting for, packaged with plenty to make you think, consider and contemplate on a lyrical front.

Review: Any artist lucky enough to share a stage with the Metropole Orkest should be taken very seriously indeed - whether that's the institution's full 54-person strong entourage or a pared back team sheet. The Dutch aficionados, led by acclaimed British conductor Jules Buckley, set the benchmark for contemporary orchestral work, collaborations with cutting edge electronic producers and pop songwriters abound. For Sohn, the honour of working alongside these world-beating musicians came as part of 2019's Amsterdam Dance Event, the world's largest electronic music festival, with the stage set at Melkweg, arguably the most iconic live venue in the Dutch capital. Background details done, all you need to know is this is a stunning showcase of a songwriter on top form, capable of creating vast atmospheres with sparse, tripped out R&B pop, with those harmonies, basslines and strings rendered more powerful than ever thanks to incredible supporting cast. A genuinely unforgettable listening experience.

Review: Jangle pop lovelies The Stroppies were pretty quick to return to the studio following their 2019 European tour. So quick they already have a new album ready to unveil, following on from the delightful 'Whoosh!', and the next record sees them once again deliver a collection of short, sharp but loose indie rock - sweet, seductive and reassuringly honest. Considering the niceness that seems to drip from every key and note, fans and newcomers alike will be happy to hear none of the energy or stomp has been lost. Opener 'Burning Bright' plays out like a thigh-slapping, boozy knees up. The title track sets a rollocking groove to hook you in, 'Rigid Men & Conduct Code' closes the LP on a timeless 60s rock 'n' roll tip. Of course numbers such as 'The Aisles of the Supermarket' peddle more shoegaze wares, but these are exceptions rather than the rule here.

Review: Long destined for greatness, if whatever god you do or don't believe in doesn't bestow upon Moses Sumney's household name longevity then it's simply because he refuses to play by the rules of the music system. Experimental in the true sense - he loves to see what can be done with what we are already used to - in a world that's well accustomed to soul-jazz-electronica-R&B hybrids Sumney still stands out as one of the few capable of real magic. Opening on 'Cut Me', not discounting the wonderful tune up intro just before, it's hard to remember more of an effective display of pop perfection and heartfelt songwriting in a leftfield artist since Jamie Lidell delivered 'Multiply'. 'Grae' is a very different beast made for a very different and more complex time, though, embracing a swathe of elements from icy darkwave to acoustic balladry and even opera as it runs its course. Phenomenal.